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b. 139-142

composition: (Op. 4), Sonata in C minor, Mvt I

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text we do not include the inauthentic fingering added by EE in bars 139-140 and 142.

category imprint: Differences between sources

issues: EE revisions

b. 139

composition: (Op. 4), Sonata in C minor, Mvt I

g3 in A (→GE→FE1,EE,IE)

g3 in FE2
..

One can doubt whether the A version (→GE→EE,IE) featuring g3 corresponds to Chopin's intention. The comparison with three analogous places, in which Chopin immediately introduces the key of the starting four-bar section (in bar 123 D minor, in bar 127 G minor and in bar 143 A minor), suggests that in the discussed bar it was supposed to be E minor, hence g3. On the other hand, the harmonic context – the chords in the previous bar – is not identical in these four places, which undermines the hypothesis of strict analogy. In this situation, in the main text we leave the literal interpretation of the A version (→GE→EE,IE); at the same time, we consider the version assuming that Chopin overlooked the  (which is quite likely here) to be an equal variant. A similar situation is to be found in the 4th mov. of the Sonata – at the beginning of bar 154 there is a B major chord, whereas the key of B minor appears only in bar 155, in spite of the fact that in all similar places both bars open with identical minor chords. In that situation the harmonic sequence leading to the analysed chord is also clearly different than in the remaining similar situations.

One can doubt whether the A version (→GE→FE1,EE,IE) featuring g3 corresponds to Chopin's intention. The comparison with three analogous places, in which Chopin immediately introduces the key of the starting four-bar section (in bar 123 D minor, in bar 127 G minor and in bar 143 A minor), suggests that in the discussed bar it was supposed to be E minor, hence g3. This was probably the reason why the reviser of FE2 added here a  lowering g3 to g3. On the other hand, the harmonic context – the chords in the previous bar – is not identical in these four places, which undermines the hypothesis of strict analogy. In this situation, in the main text we leave the literal interpretation of the A version (→GE→FE1→EE,IE); at the same time, we consider the FE2 version, assuming that Chopin overlooked the  (which is quite likely here), to be an equal variant. A similar situation is to be found in the 4th mov. of the Sonata – at the beginning of bar 154 there is a B major chord, whereas the key of B minor appears only in bar 155, in spite of the fact that in all similar places both bars open with identical minor chords. In that situation the harmonic sequence leading to the analysed chord is also clearly different than in the remaining similar situations.

category imprint: Differences between sources

issues: Omission of current key accidentals , Errors of A , FE revisions

b. 139

composition: (Op. 4), Sonata in C minor, Mvt IV

Slur from b to L.H. e1 in A, literal reading

Slur from e to L.H. e1 in GE (→EE)

Slur from e to R.H. e1 in FE & IE
..

When interpreted literally, the A slur begins from b. However, the shape of the slur suggests e as the intentional starting point of the slur, and this is how it was reproduced in the editions. We adopt this phrasing, more natural in this context, also to the main text. FE and IE assumed that the imprecise ending of the slur in GE (→EE) reaches the last quaver in the bar.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions , FE revisions ,

b. 139-140

composition: Op. 12, Variations in B♭ major

Slurs over demisemiquavers in FE (→GE,EE)

Slurs to quavers suggested by editors
..

According to us, it is more likely that the [A] slurs were inaccurately written or interpreted than they were shortened in relation to the similar motifs in bar 121 and 123. Therefore, in the main text we provide slurs modelled after the aforementioned bars.  

category imprint: Editorial revisions

b. 140

composition: Op. 43, Tarantella

..

We add cautionary  before d1 in the middle voice. Similar addition was made to EE and GE4.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions